关于教材的问题

fumitopapa

前几天在网上看到了一本名为 Technique, Mechanism, Learning的书
作者是Eduardo Fernandez
关于这本书的内容哪位有比较详尽的情况可以告知

fumitopapa

好遗憾呀。。。。大家都是看看没有人留言。。。。

Duke

只能买一本学学了，才可知道内容！一时没有人回帖，估计没有人用过！

fumitopapa

终于找到了其中的一部分 是全书的序言，不过至少可以看到书的方向。
因为是E文的所以还要请高手给翻译一下

PREFACE


Who is this book for? Mainly for students who wish to develop their instrumental capabilities to the point of mastery. I also, however, believe the concepts and processes described may perhaps not be completely wasted on those who teach the guitar. Finally, I hope that some of the ideas presented here, particularly those of a more general character, can be extrapolated to other instruments.

There are so many treatises on and methods for learning the guitar, so why another? This book is not a method, and I am not sure whether it deserves the weighty title of a treatise. Rather, it is an attempt to answer a paradox which I have often commented on with colleagues: ”the most important things to learn are almost impossible to teach , unless they are already known”. This book endeavours to make it possible for students to be constantly guided by all these” most important” aspects, so that from the very start they may go to work with the sprit of a maestro.



It seems a good idea to build up technique (following Carlevaro’s example, but not exactly his footprints), from a “Zero Point” of thought; this gives us the added advantage of not having to put our trust blindly in a past that, at least in my opinion, is not to be trusted without thorough examination. This examination implies research not suitable for a book of this nature, and not within my prowess. This task should be left to the specialists ? the many able researchers who have contributed to recent guitar research.



A great deal has been said lately about the difference between an “European School” and a “Latin-American School” of guitarists. Apart from the fact that such a division leaves most of the world off the map (why not talk of a “Japanese School” , or a “North-American School”?), I would like to stress that I consider this a dangerous fantasy. Today the guitar is a universal instrument, and there often is more difference between two performers from the same town as between two from different continents. Given the intense international contact that exists nowadays, to categorise performers according to their place of birth or study is at best unnecessary, and at worst an exercise in unconscious ethnocentrism that can only be a refuge for mediocrity. I have never heard this differentiation mentioned without the presumed implication that one of the two (supposed) schools is superior to the other, and I have never hard any mention of it at all by good musicians.

At first sight, the techniques recommended in this book may give the impression that they require too much time without contact with the instrument. I feel compelled to argue that this impression is erroneous. Experience and common sense suggest that time invested in solving problems is minimal in comparison with time wasted in being handicapped by them, and it is also of better quality. Moreover, these techniques are intended to return the indispensable feeling of creative playing to musical work, and in my experience they have the capacity to do just that.


Perhaps much of what is presented in this book will surprise of seem strange when read for the first time. I submit that some ideas need a certain familiarity to be understood (and, perhaps, accepted), and such familiarity can sometimes only be attained through seriously attempting to put them into practice, To quote don Miguel de Fuenllana, I recommend that if the reader “…uses the time spent on doubting to study, he will achieve his desired goal”.


Above all, if there is something of value in this book, I hope it is the way that conclusions are arrived at, rather than the conclusions themselves.


Perhaps this book needs a complementary workbook of exercises, particularly for the section on mechanism. I prefer to leave my readers the task of creating their own, for the reasons expounded in that section.


Acknowledgements cannot be omitted from this preface. First, I must acknowledge that this book owes a great deal to the teachings of Abel Carlevaro, which I consider constitute the first serious attempt to study subject material of this nature; even though they concentrate almost exclusively on what I call “mechanism”. Many of his ideas are presented in the section of this book on mechanism. My focus does differs substantially from his, my conclusions somewhat; all the sections on technique and learning are applied to different problem areas. I am sure, however, that without his teachings and example, this book would have been very different, and almost certainly poorer.


Responsibility for this book is mine alone, but I must thank all those pupils who have helped me to develop or experiment on the ideas within, particularly the participants at my seminar at the Universidad Javierana in Bogota and my pupils at the Escuela Universitaria de Musica in Montevideo. I am particularly years of private tuition. His help was significant in preparing the examples in the section on technique. The support and encouragement of my wife Ana and my son Sergio, for over three years’ preparation, were also invaluable.

lmgmdz

原帖由 fumitopapa 于 2007-12-19 03:42 PM 发表
好遗憾呀。。。。大家都是看看没有人留言。。。。

同感。威廉兄。。。

nan

哇~~ 每天看到唱片封面不觉得
这么大年纪了呀,已经